Digital Collections @ Mac - The Soldier Artist and Poethttp://pw20c.mcmaster.ca/peace-and-war-20th-century/soldier-artist-and-poet
Many soldiers, from all ranks, pulled out their sketch books to either record or escape from the harsh realities of the First World War. Making use of their artistic abilities, they created unique images of their experiences. Others turned to poetry to make sense of the chaotic world they now faced. The works of four men are featured in individual case studies in this theme: Eric Aldwinkle, Bernard Trotter, Siegfried Sassoon and Julian Gould. The artwork and poetry of other soldiers can also be found here.
enCreative Dialogue Across the Ocean: Eric Aldwinckle’s Letters to Harry Somershttp://pw20c.mcmaster.ca/pw20c/case-study/creative-dialogue-across-ocean-eric-aldwinckles-letters-harry-somers
<div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p><a href="/sites/default/files/pw20c_images/00001880.jpg">Eric Aldwinckle</a> was working as a graphic design artist and as an instructor at the Ontario College of Art in Toronto when the Second World War broke out in Europe. A conscientious objector, he stayed away from the battlefront until he was appointed to the War Artists Group in late 1942. He set off for England in 1943, where he was attached to the Coastal Command and Fighter Command. Refusing to limit his correspondence to dull '<a href="/sites/default/files/pw20c_images/00001541-6.jpg">bread and butter</a>” matters, Aldwinckle's letters to Harry Somers and Ruth Somers (Harry's mother) poetically explore his experience as an agent of creativity in his various roles: as mentor to the blossoming Harry, as a writer acutely aware of his reader, and as an artist struggling to express the strange dynamic of war while meeting the demands of his higher-ups. Sixteen years Harry Somers' senior, Aldwinckle's close friendship with Somers seems unlikely at first. However, this collection of 31 of his letters reveals the fundamental principle underlying their relationship: a love for truth, beauty, and ideals – in other words, the creative experience.</p>
<p>In Somers, Aldwinckle finds not only a student and intimate pal -- he also finds inspiration. The younger man’s youthful talent spurs Aldwinckle to fund Somers' studies and he presents Somers' String Quartet to Boosey &amp; Hawkes, a London-based music publishing house. When Leslie Boosey <a href="/sites/default/files/pw20c_images/00001599.jpg">declines</a> to publish the Quartet, Aldwinckle forwards the rejection letter to Somers, and <a href="/sites/default/files/pw20c_images/00001599-2.jpg">writes on the back</a>: 'Publishing and publications are honey combed with much more intricate channels than the simple 'recognition of talent.'' From the RCAF Headquarters in England, Aldwinckle also aggressively defends Somers against the attacks of the Toronto critic Augustus Bridle, composing a scathing <a href="/sites/default/files/pw20c_images/00001612.jpg">letter</a> (+ <a href="/sites/default/files/pw20c_images/00001612-2.jpg">p2</a>) in which he criticizes Bridle for discouraging rather than celebrating young artists who continue to create in spite of the war. Aldwinckle's commitment to supporting Somers' musical ambitions remains steadfast, despite the ocean separating them.</p>
<p><a href="/sites/default/files/pw20c_images/00001598-6.jpg"><img src="/sites/default/files/pw20c_images/00001598-6.jpg" alt="00001598-6.jpg" class="pwimgembed" /></a> Aldwinckle is very self-conscious about his position as a letter writer. He regards letter writing as an art, and his letters are infused with the same imaginative force and careful construction as one might find in his paintings. Knowing that his letters are at the mercy of the censor, however, Aldwinckle has to write within artistic limits, leaving him 'poetically bursting.' Early on in the correspondence, Aldwinckle even jokingly considers giving up letter writing, because he finds it 'too exasperating.' He does not try to downplay the effort he puts into his letters. For example, he tells Somers: '<a href="/sites/default/files/pw20c_images/00001607.jpg">I write and am interrupted</a>, or prevented from completing it and when I come back to pick up the thread I read it and say 'not interesting' 'not worth reading' so I commence another.' The same thing happens over and over, until Aldwinckle finally mails all of the rejected, unfinished pieces in a bundle for Somers to read. This bundle consists of <a href="/sites/default/files/pw20c_images/00001607-2.jpg">prose</a>, <a href="/sites/default/files/pw20c_images/00001607-5.jpg">poetry</a>, and a <a href="/sites/default/files/pw20c_images/00001607-8.jpg">dialogue</a> -- forms not uncharacteristic of the rest of Aldwinckle's letters. In another instance, Aldwinckle fills six pages to Ruth with descriptions of the wasps infesting the camp. He even encloses a watercolour of a <a href="/sites/default/files/pw20c_images/00001605-7.jpg">wasp climbing out of a trap</a> he fashions out of a tin of sweets, and, evidently pleased with his composition, tells Somers that he is making a copy of the letter for another friend!</p>
<p>The letters in this collection reveal that Aldwinckle is not solely an artist by profession; the driving force in his life is a burning quest for beauty. When he first arrives in London, he busies himself with searching for pianos on which to practice, seeing plays by Noel Coward, going to <a href="/sites/default/files/pw20c_images/00001573-2.jpg">concerts</a> at Wigmore Hall, and taking a lithography course at the Central School of Arts and Crafts. He writes a great deal about communing with nature; one of his letters is dedicated entirely to describing the view from 12,000 feet up in the sky. He <a href="/sites/default/files/pw20c_images/00001608-6.jpg">quotes from John Clare's poem</a> 'I Am,' and considers the irony of communing with nature from within the confines of a vibrating airplane. Perhaps this quest for beauty is the basis of Aldwinckle's fondness for Somers; Somers, a budding young composer, inspires hope in Aldwinckle, who is beginning to recognize the fruitlessness of his own musical ambitions. In a letter that describes his fantasy of canoeing alone with Somers, in Canadian waters, underneath the stars, Aldwinckle writes: 'The great desire I have is to simply 'BE' with thee and in fact with all those who are beautiful and good in my eyes.'</p>
<p>Aldwinckle's letters to Somers shed light on some of Aldwinckle's most famous works, currently housed at the Canadian War Museum. In his <a href="/sites/default/files/pw20c_images/00001598.jpg">letter</a> of 23 December 1943, he discusses the creation of 'Return from Berlin.' Aldwinckle spent a week at a bomber station to prepare for his painting. What he saw was 'indelibly impressed' upon him, and he waited impatiently for the arrival of a large canvas. By this time, his vision for the painting has more or less taken on a life of its own, and waits to pour itself out onto a canvas. Once he commits it to canvas, he writes: 'Anything I have done before this simply doesn't count, except be a tool for this. I am almost in fear of being lost afterwards...' </p>
<p><a href="/sites/default/files/pw20c_images/00001614-2.jpg"><img src="/sites/default/files/pw20c_images/00001614-2.jpg" alt="00001614-2.jpg" class="pwimgembed" /></a> Aldwinckle's letters also deal with the discrepancy between his intentions as an artist and the way his art is received. He jokes that his paintings are 'taken from [him] like eggs from a hen,' and he addresses the artist's dilemma of reconciling the demands of the market with his creative freedom. Aldwinckle tells Somers that a <a href="/sites/default/files/pw20c_images/00001617-5.jpg">prisoner of war</a> he had met earlier has written to him, urging him to complete '<a href="/sites/default/files/pw20c_images/00001881.jpg">The Survivor</a>': 'Dear Eric that painting you had on your easel has been haunting me. Unfinished as it was it possessed some quality that I haven't been able to forget. It's good Eric! For God's sake finish it, then perhaps I'll see it in the future and get it off my mind.' Upon which Aldwinckle reflects:</p>
<p>'It is so stimulating to get some real live reaction from someone who also has experienced these things that it comes as a heartener. So often has my finished work met the silent, unknowing and uncaring eye of administration to be whisked away to the silent unknown that I have been feeling sometimes as one robbed -- I have sung, I have shouted -- screamed or merely commented artistically but there has been no answer, until I have felt justified in believing that I was talking to myself and there seemed no point in speaking words of experience in a locked room. My field notes are exhibited -- my messages or my feelings have been hidden -- They will perhaps come to light later -- who knows. It doesn't matter.'</p>
<p>The fact that Aldwinckle’s artwork did matter, at least for posterity, is demonstrated by its prominent position in the Canadian War Museum. Like these pictorial works of art, his letters to Harry and Ruth Somers deserve to be carefully examined and thoughtfully considered.</p>
</div></div></div><div class="field field-name-field-cs-teaser field-type-text-long field-label-hidden"><div class="field-items"><div class="field-item even"><p>Self-taught Toronto artist Eric Aldwinckle went overseas in March 1943 as an official War Artist, commissioned by the RCAF to portray the war in the air. Aldwinckle's correspondence with Toronto composer Harry Somers reveals the inner workings of the minds of two friends on a quest for truth, beauty, and ideals against the dreary backdrop of war.</p>
</div></div></div><div class="field field-name-field-cs-headline-image field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">00001881</div></div></div><div class="field field-name-field-cs-reference-fonds field-type-text field-label-hidden"><div class="field-items"><div class="field-item even"><p><a href="http://library.mcmaster.ca/archives/findaids/fonds/a/aldwinckle.htm">Eric Aldwinckle collection</a></p>
</div></div></div><div class="field field-name-field-old-nid field-type-number-integer field-label-above"><div class="field-label">old-nid:&nbsp;</div><div class="field-items"><div class="field-item even">175314</div></div></div><div class="field field-name-field-taxonomy field-type-taxonomy-term-reference field-label-above"><div class="field-label">Taxonomy:&nbsp;</div><div class="field-items"><div class="field-item even"><a href="/peace-and-war-20th-century/soldier-artist-and-poet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Soldier Artist and Poet</a></div></div></div>Tue, 01 Mar 2016 15:59:00 +0000Anonymous182696 at http://pw20c.mcmaster.cahttp://pw20c.mcmaster.ca/pw20c/case-study/creative-dialogue-across-ocean-eric-aldwinckles-letters-harry-somers#commentsMcMaster University’s Own Soldier Poet: Bernard Trotterhttp://pw20c.mcmaster.ca/pw20c/case-study/mcmaster-universitys-own-soldier-poet-bernard-trotter
<div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p>In the fall of 1915, the British War Office contacted the University of Toronto for help in recruiting students for the officer corps of the British (Imperial) Army. One of the fifty young men who answered the call to service was Bernard Freeman Trotter, a twenty-five-year old graduate of <a href="/sites/default/files/pw20c_images/00001522.jpg">McMaster University</a> who was just beginning advanced studies at the University of Toronto. He left his studies and his family in Toronto in March 1916, and before the year was out, Trotter had successfully completed his training with both the Canadian and British armies in England, and was on his way to the Western Front as a junior officer with the <a href="/sites/default/files/pw20c_images/00001429.jpg">Leicestershire 11th</a>. </p>
<p>Trotter always had been a good correspondent; he continued to keep in contact with his family throughout his travels, his training and his travails. On Sunday afternoon, 6 May 1917, Trotter found time to complete another letter home. The following evening, a shell exploded close to the twenty-six-year old Assistant Transport Officer. He “dropped from his horse”, killed instantaneously. Bernard Trotter, like more than 60,000 other Canadians, never returned home from the Great War.</p>
<p>He was remembered. The young man's family and friends honoured his sacrifice by collecting and publishing his poetry. Although Trotter complained that his poetic muse could not “flourish among the interruptions and lack of privacy of military life”, the best of the poems which appear in <cite><a href="/sites/default/files/pw20c_images/00001431.jpg">A Canadian Twilight and Other Poems of War and of Peace</a></cite>, were written overseas, and established his reputation as one of Canada’s war poets. In “<a href="/sites/default/files/pw20c_images/00001428.jpg">Ici Repose</a>”, a “pome” attached to one of the letters that arrived home after his death, Trotter paid tribute to the dead, and expressed his hopes and fears for the future peace. He imagined himself a survivor, addressing the war dead:</p>
<p>We shall grow old, and tainted with the rotten</p>
<p>Effluvia of the peace we fought to win,</p>
<p>The bright deeds of our youth will be forgotten,</p>
<p>Effaced by later failure, sloth, or sin;</p>
<p>But you have conquered Time, and sleep forever,</p>
<p>Like gods, with a white halo on your brows --</p>
<p>Your souls our lode-stars, your death crowned endeavour</p>
<p>The spur that holds the nations to their vows.</p>
<p>Trotter and his family left us more than poetry. The family preserved a remarkable collection of his letters and other papers, including texts and notebooks from his training as an officer, as well as other family correspondence, which the Division of Archives and Research Collections at McMaster University is now fortunate enough to hold.</p>
<p><a href="/sites/default/files/pw20c_images/00001430.jpg"><img src="/sites/default/files/pw20c_images/00001430.jpg" alt="00001430.jpg" class="pwimgembed" /></a>Through the letters in this collection, we can catch glimpses of Bernard Trotter’s early life, and then follow his military “luck.” He was lucky to claim a sleeping car on the long train ride to Halifax, lucky to be assigned a first class berth on the ship, lucky to see the English countryside so often described to him by his father, lucky to attend Oxford for his final training as a British officer, and lucky, or so he felt, not to have to wait too many months for the call to the Front. Lucky too, at the Front, where he was assigned to a barn with “real beds”, had a manservant to clean the mud from his uniform every day, and was selected to leave the Front to train as a Transport Officer, missing the bloody battle of Arras early in April 1917. He loved working transport, he explained to his family, for “I find shell fire far less trying on the nerves when on horseback in charge of a convoy than when crouching in a trench.” </p>
<p>All of this talk of “luck”, of course, tells us a lot about the nature of soldiers’ letters home. Their correspondence was routinely censored (and since Trotter sometimes was assigned to censor letters, he knew this very well). Soldiers writing home probably were less concerned with official censors than with protecting their families back home and preserving their own sanity. “It won’t do you any good to worry when you see the Leicesters mentioned in the fighting news,” Trotter assured his family in <a href="/sites/default/files/pw20c_images/00001418-4.jpg">March 1917</a>, “There are ten battalions somewhere in I should think at least half as many different divisions, which may be anywhere; so when you see the name the chances are strongly in favor of its having nothing to do with me.”</p>
<p><a href="/sites/default/files/pw20c_images/00001428.jpg"><img src="/sites/default/files/pw20c_images/00001428.jpg" alt="00001428.jpg" class="pwimgembed" /></a> So what can these letters tell us? Trotter lets us glimpse life at the Front. “One is inclined, I am afraid, to lose perspective very badly, and give no thought to what happens to anyone save your own little party,” he thoughtfully explained. “You watch shells bursting over other people’s areas with the most perfect equanimity. As for the poor Bosch, who gets regularly at least ten to one, he is entirely beyond the pale of sympathy except at odd and fleeting moments.”</p>
<p>Beyond these scattered insights, these letters allow us to share the experience of those at home, who only saw the war through newspaper accounts and letters from those who served. Historian Jeffrey Keshen argues that such letters left those at home little prepared for the damaged men and women who did return from the war. Perhaps. But in Trotter’s letters we can see reflected a family who sensed the horror of the war, were anxious for personal news, and who feared the worst.</p>
<p> And because the collection includes other correspondence, we can experience the impact of 'the worst'. We can read the official reports of Trotter’s commanding officer and company padre, delivered to the family several weeks later. We can read the letters from Trotter’s sisters and mother to Bernard’s brother, historian Reginald Trotter, relaying the bad news, describing the reactions of friends and neighbours, planning memorials and the book of poetry as a tribute. And we can see their careful efforts to conceal Bernard’s death, for nearly a month, from his father, then hospitalized with prostate cancer. </p>
<p> In her <a href="/sites/default/files/pw20c_images/00001420.jpg">letter to Reginald</a>, Bernard’s mother wrote: “I have some other news for you though that is sad and hard though not so sad or hard as it might have been. Bernard was killed in action last Monday. He would have chosen that, I think, rather than being sick and invalided home, or taken prisoner, or worse than anything, horribly mutilated as so many poor fellows have been.” In death, as in life, Bernard Trotter was “lucky”. He would not “grow old, and tainted with the rotten effluvia of the peace” he had bravely “fought to win.”</p>
</div></div></div><div class="field field-name-field-cs-teaser field-type-text-long field-label-hidden"><div class="field-items"><div class="field-item even"><p>One of sixty thousand Canadians who did not return from the First World War, Bernard Trotter’s poignant poems were published after his death. His letters home reveal the idealism and spirit of dedication which led him to volunteer and they also show his family in Canada, deeply engaged, albeit from a distance, in the far away conflict.</p>
</div></div></div><div class="field field-name-field-cs-headline-image field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">00001431</div></div></div><div class="field field-name-field-cs-reference-footnote field-type-text-long field-label-hidden"><div class="field-items"><div class="field-item even">Keshen, Jeffrey A. Propaganda and Censorship During Canada’s Great War (Edmonton: University of Alberta Press, 1996)
</div><div class="field-item odd">Trotter, Bernard Freeman. A Canadian Twilight and Other Poems of War and Peace (Toronto: McClelland and Stewart, 1917)
</div></div></div><div class="field field-name-field-cs-reference-fonds field-type-text field-label-hidden"><div class="field-items"><div class="field-item even"><p><a href="http://library.mcmaster.ca/archives/findaids/fonds/t/trotter.htm">Bernard Trotter fonds</a></p>
</div></div></div><div class="field field-name-field-old-nid field-type-number-integer field-label-above"><div class="field-label">old-nid:&nbsp;</div><div class="field-items"><div class="field-item even">37688</div></div></div><div class="field field-name-field-taxonomy field-type-taxonomy-term-reference field-label-above"><div class="field-label">Taxonomy:&nbsp;</div><div class="field-items"><div class="field-item even"><a href="/peace-and-war-20th-century/soldier-artist-and-poet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Soldier Artist and Poet</a></div></div></div>Tue, 01 Mar 2016 15:59:00 +0000Anonymous182680 at http://pw20c.mcmaster.cahttp://pw20c.mcmaster.ca/pw20c/case-study/mcmaster-universitys-own-soldier-poet-bernard-trotter#commentsThe Great Ones and the Great War: Siegfried Sassoon’s Bitter Poem, “Great Men”http://pw20c.mcmaster.ca/pw20c/case-study/great-ones-and-great-war-siegfried-sassoons-bitter-poem-great-men
<div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p>For many British soldiers and civilians alike, the First World War had become hopeless and seemingly endless by the summer of 1918. Even as the first gains were being made in the pivotal battle of Amiens, which would finally lead the protracted war toward a conclusion, British Prime Minister Lloyd George stood in the House of Commons on 7 August to deliver an encouraging speech to the disillusioned, reminding the nation of the reasons that had first led Britain to go to war and that now required the fight to go on, praising the valour of the millions of soldiers who had fought and were yet fighting for the British Empire.</p>
<p><a href="/sites/default/files/pw20c_images/00001582.jpg"><img src="/sites/default/files/pw20c_images/00001582.jpg" alt="00001582.jpg" class="pwimgembed" /></a> Siegfried Sassoon was one of those many soldiers. He had lived the sporting life before the war, hunting, playing cricket, and dabbling in poetry, but he was quick to volunteer for service even before war was declared in August 1914, becoming a lieutenant and later captain in the Royal Welch Fusiliers. The record of his military service is somewhat complex and paradoxical. In many ways Sassoon was an enthusiastic soldier, particularly after losing his brother and a close friend early in the conflict. He was subsequently awarded the Military Cross for his brave attempts to remove the dead and wounded from the midst of battle. Yet later, influenced by <a href="/bertrand-russell">Bertrand Russell</a> and others, he adopted pacifist ideas. After being wounded in the shoulder during the Second Battle of the <a href="/sites/default/files/pw20c_images/00001585.jpg">Scarpe</a> in April 1917, he refused to fight any further and issued a declaration accusing the British leaders of needlessly perpetuating the war and the British civilians at home of being complacent and unsympathetic to the dying soldiers. Soon, however, Captain Sassoon found his refusal to return to combat to be both ineffective at instigating change and an affront to his personal loyalty to the men in his company, so he returned to duty. Mistakenly shot in head by a sergeant in his own unit in July 1918, he returned to England, once again with mixed emotions, to recover. </p>
<p><a href="/sites/default/files/pw20c_images/00001583.jpg"><img src="/sites/default/files/pw20c_images/00001583.jpg" alt="00001583.jpg" class="pwimgembed" /></a> While Sassoon was in “Blighty” recuperating at the American Red Cross Hospital No. 22 in London, a remembrance service was held on Sunday 4 August 1918 to commemorate the fourth anniversary of the war’s inception. Near the Marble Arch in Hyde Park, amid a crowd of almost 20,000 people which included both the Lord Mayor and the Bishop of London, a shrine was erected on which the public laid flowers in recognition of the soldiers who had fallen in the years of war. Sassoon recorded his disgust at this event in his diary, calling it a vulgar and insulting display. He also perceived a self-interested motive on the part of Waring &amp; Gillow, furniture makers turned aircraft manufacturers, who had made a gift of the expensive shrine. With this event still vivid in his mind, he probably read the Prime Minister’s hollow praise to the British soldiers a few days later in the newspapers. Freshly embittered toward those he held responsible for the war, Sassoon jotted down a poem entitled “<a href="/sites/default/files/pw20c_images/00001578.jpg">Great Men</a>” on 10 August 1918.</p>
<p>Great Men</p>
<p>The great ones of the earth</p>
<p>Approve, with smiles and bland salutes, the rage</p>
<p>And monstrous tyranny they have brought to birth.</p>
<p>The great ones of the earth</p>
<p>Are much concerned about the wars they wage,</p>
<p>And quite aware of what those wars are worth.</p>
<p>* * *</p>
<p>You Marshals, gilt and red,</p>
<p>You Ministers and Princes, and Great Men,</p>
<p>Why can’t you keep your mouthings for the dead?</p>
<p>Go round the simple Cemeteries; and then</p>
<p>Talk of our noble sacrifice and losses</p>
<p>To the wooden crosses.</p>
</div></div></div><div class="field field-name-field-cs-teaser field-type-text-long field-label-hidden"><div class="field-items"><div class="field-item even"><p>Wounded for the second time, Captain Siegfried Sassoon produced a caustic poem from his hospital bed in August 1918 to attack the British elite. It was these Great Men whom he held accountable for the perpetuation of the First World War, those who were heedlessly disregarding its massive human cost for the sake of their own personal interests.</p>
</div></div></div><div class="field field-name-field-cs-headline-image field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">00001578</div></div></div><div class="field field-name-field-cs-reference-footnote field-type-text-long field-label-hidden"><div class="field-items"><div class="field-item even">Campbell, Patrick. Siegfried Sassoon: A Study of the War Poetry (London: McFarland and Company, 1999)
</div><div class="field-item odd">Sassoon, Siegfried. Siegfried Sassoon Diaries: 1915-1918 (London: Faber and Faber, 1983)
</div><div class="field-item even">Times (London), 3 and 5 August 1918.
</div></div></div><div class="field field-name-field-cs-reference-fonds field-type-text field-label-hidden"><div class="field-items"><div class="field-item even"><p><a href="http://library.mcmaster.ca/archives/findaids/fonds/s/sassoon.htm">Siegfried Sassoon collection</a></p>
</div></div></div><div class="field field-name-field-old-nid field-type-number-integer field-label-above"><div class="field-label">old-nid:&nbsp;</div><div class="field-items"><div class="field-item even">37686</div></div></div><div class="field field-name-field-taxonomy field-type-taxonomy-term-reference field-label-above"><div class="field-label">Taxonomy:&nbsp;</div><div class="field-items"><div class="field-item even"><a href="/peace-and-war-20th-century/soldier-artist-and-poet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Soldier Artist and Poet</a></div></div></div>Tue, 01 Mar 2016 15:59:00 +0000Anonymous182678 at http://pw20c.mcmaster.cahttp://pw20c.mcmaster.ca/pw20c/case-study/great-ones-and-great-war-siegfried-sassoons-bitter-poem-great-men#commentsJulian Gould: “Love, Order, Progress”http://pw20c.mcmaster.ca/pw20c/case-study/julian-gould-love-order-progress
<div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p>Julian Gould was the son of Mahalah Elizabeth and Frederick James Gould (1855-1938); his father was a teacher, author, socialist and secularist. Born in 1891 in London, Julian was educated at Wyggeston Grammar School and studied art at the Municipal School of Art in Leicester. He won the school’s silver medal for a shaded drawing of a man’s head from life, and in 1910 he went to Paris to sketch. Yet in the five years after that, Gould worked as a printer’s designer – he was pursing a career in art but only at the fringes. He joined the 16th Middlesex Regiment in May 1915 after the sinking of the <cite>Lusitania</cite>. </p>
<p><a href="/sites/default/files/pw20c_images/00000326.jpg"><img src="/sites/default/files/pw20c_images/00000326.jpg" alt="00000326.jpg" class="pwimgembed" /></a> His battalion left for France in November 1915 where he was to fight in and survive the battle of The Somme in 1916. In France he found solace in drawing the <a href="/sites/default/files/pw20c_images/00001627.jpg">peaceful rural scenes</a> behind the front, describing the countryside in a letter home as “… blackberry-bushes still green, rising over ivy-starred and sombre hollows … Trees … cast their slender lengths into lines and groups, kissing often, looking on a moist and sunny land. And there are golden stacks about, and cottages with ruddy roofs.” His pencil drawings were done in less than ideal conditions. 'The weather is a bit chilly for drawing as a pencil travels very inelegantly in numbed fingers. But the time left me after the usual parades is small, so my spells devoted to barns and trees are short and sweet,' he wrote to his father on 7 March 1916. His letters also contained the usual thanks for socks that were desperately needed and a request for a new razor.</p>
<p>His experiences at the front may have galvanized him into more fully utilizing his prodigious artistic talent and also may have developed his political awareness. He did share his father’s socialist views – his father had hoped that his son would present, in his art, “the vision of emancipated Labour” but that had not happened. The War broke down social and class barriers and Gould may have taken advantage of that opportunity. Tragically, he was killed in action at Monchy-le-preux, near Arras, on 31 May 1917.</p>
<p><a href="/sites/default/files/pw20c_images/00001627.jpg"><img src="/sites/default/files/pw20c_images/00001627.jpg" alt="00001627.jpg" class="pwimgembed" /></a> After his death, his father compiled an annotated album. It contains images of <a href="/sites/default/files/pw20c_images/00000274.jpg">Julian as a child</a>, his <a href="/sites/default/files/pw20c_images/00000276.jpg">early artwork</a>, self-portraits, drawings done in France, letters home, and condolence letters. He also published a <cite>Memorial Notice of Julian Gould</cite> which reproduced some of his son's drawings as well as his “Love, Order, Progress,” a Madonna and child design which his father greatly admired. Julian had written to his father about the Madonna in a letter of 15 November 1915, approving the print just before he left for France. The book received favourable notices in both <cite>The Times Literary Supplement</cite> and the <cite>Literary Guide</cite>. The album and book contain memories of Gould: the principal of his art school remembers him as “a student of keen artistic temperament and much promise” in a letter of 13 June 1917. As a young boy, the elder Gould had sung in <a href="/sites/default/files/pw20c_images/00000156.jpg">St. George's Chapel Choir</a> at Windsor before Princess Beatrice. He sent her a copy of the <cite>Memorial Notice</cite>, receiving an acknowledgement from her comptroller.</p>
<p>In his autobiography, <cite>The Life-Story of a Humanist</cite>, Frederick Gould sets down his thoughts on his son’s voluntary military service, an action at odds with the beliefs of the many pacifists with whom he was acquainted. “I read in the streets … the telegram announcing that German torpedoes had sunk the Lusitania. … When I reached home that May evening I found my son Julian sitting thoughtful in the room where, in view of garden and trees, he often designed and painted. He had that day volunteered for the Army. I will here affirm, as honestly as I have affirmed anything all my life, that I believe millions of our young citizens joined the Army with a spirit as free from Imperialism or Militarism as his. … Among my circle of acquaintance, the Non-resistance Minds and Conscientious Objector types were distinctly numerous. … My judgement, both retrospective and immediate, named them as less manly and less worthy. I say it with regret …”. More than a decade later, he wrote on 1 August 1932 in an article for the <cite>Leicester Mercury</cite> that he had during the war reluctantly come 'to the conclusion that it was the duty of British citizens to support the cause of the Allies'. By the 1930s, however, he was trying not to dwell in the past. Instead he concludes his article by looking forward to the education of youth in 'the fundamental unity of humanity throughout the ages' as the best way to preserve peace.</p>
</div></div></div><div class="field field-name-field-cs-teaser field-type-text-long field-label-hidden"><div class="field-items"><div class="field-item even"><p>A young man who had not yet found his artistic path, never gets that chance. Julian Gould’s great artistic ability was evident from his teenage years. He volunteered for service in the First World War and was killed before he had the chance to establish himself.</p>
</div></div></div><div class="field field-name-field-cs-headline-image field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">00000271</div></div></div><div class="field field-name-field-cs-reference-footnote field-type-text-long field-label-hidden"><div class="field-items"><div class="field-item even">Gould, Frederick James. Memorial Notice of Julian Gould (London: Watts, 1917); very rare, photocopy available with the fonds.
</div><div class="field-item odd">Gould, Frederick James. The Life-Story of a Humanist (London: Watts, 1923)
</div></div></div><div class="field field-name-field-cs-reference-fonds field-type-text field-label-hidden"><div class="field-items"><div class="field-item even"><p><a href="http://library.mcmaster.ca/archives/findaids/fonds/w/ww1gould.htm">Julian Gould fonds</a></p>
</div></div></div><div class="field field-name-field-old-nid field-type-number-integer field-label-above"><div class="field-label">old-nid:&nbsp;</div><div class="field-items"><div class="field-item even">7426</div></div></div><div class="field field-name-field-taxonomy field-type-taxonomy-term-reference field-label-above"><div class="field-label">Taxonomy:&nbsp;</div><div class="field-items"><div class="field-item even"><a href="/peace-and-war-20th-century/soldier-artist-and-poet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Soldier Artist and Poet</a></div></div></div>Tue, 01 Mar 2016 15:59:00 +0000Anonymous182646 at http://pw20c.mcmaster.cahttp://pw20c.mcmaster.ca/pw20c/case-study/julian-gould-love-order-progress#commentsFord, Walter, Letter, 13 August 1917http://pw20c.mcmaster.ca/pw20c/ford-walter-letter-13-august-1917-1
<div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><a href="http://pw20c.mcmaster.ca/sites/default/files/pw20c_images/00000313-3.jpg"><img typeof="foaf:Image" src="http://pw20c.mcmaster.ca/sites/default/files/styles/medium/public/pw20c_images/00000313-3.jpg?itok=QCTP3G8D" width="157" height="220" alt="00000313-3.jpg" /></a></div></div></div><div class="field field-name-field-description field-type-text-long field-label-above"><div class="field-label">Description:&nbsp;</div><div class="field-items"><div class="field-item even">Letter to Frederick J. Gould
</div></div></div><div class="field field-name-field-creator field-type-text field-label-inline clearfix"><div class="field-label">Creator:&nbsp;</div><div class="field-items"><div class="field-item even">Ford, Walter</div></div></div><div class="field field-name-field-source field-type-list-text field-label-inline clearfix"><div class="field-label">Source:&nbsp;</div><div class="field-items"><div class="field-item even">letter</div></div></div><div class="field field-name-field-date field-type-text field-label-inline clearfix"><div class="field-label">Date:&nbsp;</div><div class="field-items"><div class="field-item even">13 August 1917</div></div></div><div class="field field-name-field-place field-type-text field-label-inline clearfix"><div class="field-label">Place:&nbsp;</div><div class="field-items"><div class="field-item even"><p>Melton Mowbray</p>
</div></div></div><div class="field field-name-field-coverage field-type-text field-label-inline clearfix"><div class="field-label">Collection/Fonds:&nbsp;</div><div class="field-items"><div class="field-item even"><p><a href="http://library.mcmaster.ca/archives/findaids/fonds/w/ww1gould.htm">Gould, Julian</a></p>
</div></div></div><div class="field field-name-field-contributor field-type-text field-label-inline clearfix"><div class="field-label">Contributer:&nbsp;</div><div class="field-items"><div class="field-item even">McMaster University Libraries</div></div></div><div class="field field-name-field-rights field-type-text field-label-inline clearfix"><div class="field-label">Rights:&nbsp;</div><div class="field-items"><div class="field-item even">Copyright, public domain: McMaster University owns the rights to the archival copy of the digital image in TIFF format.</div></div></div><div class="field field-name-field-subject field-type-text field-label-inline clearfix"><div class="field-label">Subject:&nbsp;</div><div class="field-items"><div class="field-item even">The Soldier Artist and Poet</div></div></div><div class="field field-name-field-relation field-type-text field-label-inline clearfix"><div class="field-label">Case Study:&nbsp;</div><div class="field-items"><div class="field-item even">Julian Gould: “Love, Order, Progress”</div></div></div><div class="field field-name-field-identifier field-type-text field-label-inline clearfix"><div class="field-label">Identifier:&nbsp;</div><div class="field-items"><div class="field-item even">00000313-3</div></div></div><div class="field field-name-field-type field-type-text field-label-inline clearfix"><div class="field-label">Type:&nbsp;</div><div class="field-items"><div class="field-item even">image</div></div></div><div class="field field-name-field-format field-type-text field-label-inline clearfix"><div class="field-label">Format:&nbsp;</div><div class="field-items"><div class="field-item even">jpg</div></div></div><div class="field field-name-field-transcript field-type-text-long field-label-inline clearfix"><div class="field-label">Transcript:&nbsp;</div><div class="field-items"><div class="field-item even"><p>the time being about 3:30 a.m. on May 31st when I got hit, a piece of shell embedded itself in my head and so I went to the dressing station.<br />
I concluded you son was killed, after reading a paragraph in the Paris Daily Mail in which reference was made to a Socialist being killed at the front, son of F.J. Gould, writer in Justice. I saw this while I was in Hospital at Camiers. I was brought to Leicester on June 27th.<br />
I did not know L/cpl Smith at all, myself being in C Company.<br />
Oh yes! Your son did lend me the poem you speak of</p>
</div></div></div><div class="field field-name-field-file field-type-text field-label-inline clearfix"><div class="field-label">File:&nbsp;</div><div class="field-items"><div class="field-item even">album, between pgs. 71-2</div></div></div><div class="field field-name-field-unit field-type-text field-label-inline clearfix"><div class="field-label">Unit:&nbsp;</div><div class="field-items"><div class="field-item even">368</div></div></div><div class="field field-name-field-box field-type-text field-label-inline clearfix"><div class="field-label">Box:&nbsp;</div><div class="field-items"><div class="field-item even">8</div></div></div><div class="field field-name-field-taxonomy field-type-taxonomy-term-reference field-label-above"><div class="field-label">Peace and War in the 20th Century:&nbsp;</div><div class="field-items"><div class="field-item even"><a href="/peace-and-war-20th-century/soldier-artist-and-poet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Soldier Artist and Poet</a></div></div></div>Mon, 29 Feb 2016 19:28:40 +0000Anonymous181679 at http://pw20c.mcmaster.cahttp://pw20c.mcmaster.ca/pw20c/ford-walter-letter-13-august-1917-1#commentsFord, Walter, Letter, 13 August 1917http://pw20c.mcmaster.ca/pw20c/ford-walter-letter-13-august-1917-0
<div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><a href="http://pw20c.mcmaster.ca/sites/default/files/pw20c_images/00000313-2.jpg"><img typeof="foaf:Image" src="http://pw20c.mcmaster.ca/sites/default/files/styles/medium/public/pw20c_images/00000313-2.jpg?itok=LEq1Avsm" width="150" height="220" alt="00000313-2.jpg" /></a></div></div></div><div class="field field-name-field-description field-type-text-long field-label-above"><div class="field-label">Description:&nbsp;</div><div class="field-items"><div class="field-item even">Letter to Frederick J. Gould
</div></div></div><div class="field field-name-field-creator field-type-text field-label-inline clearfix"><div class="field-label">Creator:&nbsp;</div><div class="field-items"><div class="field-item even">Ford, Walter</div></div></div><div class="field field-name-field-source field-type-list-text field-label-inline clearfix"><div class="field-label">Source:&nbsp;</div><div class="field-items"><div class="field-item even">letter</div></div></div><div class="field field-name-field-date field-type-text field-label-inline clearfix"><div class="field-label">Date:&nbsp;</div><div class="field-items"><div class="field-item even">13 August 1917</div></div></div><div class="field field-name-field-place field-type-text field-label-inline clearfix"><div class="field-label">Place:&nbsp;</div><div class="field-items"><div class="field-item even"><p>Melton Mowbray</p>
</div></div></div><div class="field field-name-field-coverage field-type-text field-label-inline clearfix"><div class="field-label">Collection/Fonds:&nbsp;</div><div class="field-items"><div class="field-item even"><p><a href="http://library.mcmaster.ca/archives/findaids/fonds/w/ww1gould.htm">Gould, Julian</a></p>
</div></div></div><div class="field field-name-field-contributor field-type-text field-label-inline clearfix"><div class="field-label">Contributer:&nbsp;</div><div class="field-items"><div class="field-item even">McMaster University Libraries</div></div></div><div class="field field-name-field-rights field-type-text field-label-inline clearfix"><div class="field-label">Rights:&nbsp;</div><div class="field-items"><div class="field-item even">Copyright, public domain: McMaster University owns the rights to the archival copy of the digital image in TIFF format.</div></div></div><div class="field field-name-field-subject field-type-text field-label-inline clearfix"><div class="field-label">Subject:&nbsp;</div><div class="field-items"><div class="field-item even">The Soldier Artist and Poet</div></div></div><div class="field field-name-field-relation field-type-text field-label-inline clearfix"><div class="field-label">Case Study:&nbsp;</div><div class="field-items"><div class="field-item even">Julian Gould: “Love, Order, Progress”</div></div></div><div class="field field-name-field-identifier field-type-text field-label-inline clearfix"><div class="field-label">Identifier:&nbsp;</div><div class="field-items"><div class="field-item even">00000313-2</div></div></div><div class="field field-name-field-language field-type-text field-label-inline clearfix"><div class="field-label">Language:&nbsp;</div><div class="field-items"><div class="field-item even">eng</div></div></div><div class="field field-name-field-type field-type-text field-label-inline clearfix"><div class="field-label">Type:&nbsp;</div><div class="field-items"><div class="field-item even">image</div></div></div><div class="field field-name-field-format field-type-text field-label-inline clearfix"><div class="field-label">Format:&nbsp;</div><div class="field-items"><div class="field-item even">jpg</div></div></div><div class="field field-name-field-transcript field-type-text-long field-label-inline clearfix"><div class="field-label">Transcript:&nbsp;</div><div class="field-items"><div class="field-item even"><p>son went to his Company, and myself to the Signal section, and that was the last time I saw him. We had hoped to have missed that turn, as the Battalion had already been in the line ten days, and we expected them to be relived in a day or so; however, it was not to be.<br />
The Battalion went over the top on the night of the 30th, and no doubt it was in the attack that your son was killed. I myself was out on the Telephone line looking for a break, for we were out of communication with the left Company,</p>
</div></div></div><div class="field field-name-field-file field-type-text field-label-inline clearfix"><div class="field-label">File:&nbsp;</div><div class="field-items"><div class="field-item even">album, between pgs. 71-2</div></div></div><div class="field field-name-field-unit field-type-text field-label-inline clearfix"><div class="field-label">Unit:&nbsp;</div><div class="field-items"><div class="field-item even">368</div></div></div><div class="field field-name-field-box field-type-text field-label-inline clearfix"><div class="field-label">Box:&nbsp;</div><div class="field-items"><div class="field-item even">8</div></div></div><div class="field field-name-field-taxonomy field-type-taxonomy-term-reference field-label-above"><div class="field-label">Peace and War in the 20th Century:&nbsp;</div><div class="field-items"><div class="field-item even"><a href="/peace-and-war-20th-century/soldier-artist-and-poet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Soldier Artist and Poet</a></div></div></div>Mon, 29 Feb 2016 19:28:40 +0000Anonymous181678 at http://pw20c.mcmaster.cahttp://pw20c.mcmaster.ca/pw20c/ford-walter-letter-13-august-1917-0#commentsGould, Julian, Poster, 23 October 1915http://pw20c.mcmaster.ca/pw20c/gould-julian-poster-23-october-1915
<div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><a href="http://pw20c.mcmaster.ca/sites/default/files/pw20c_images/00000326.jpg"><img typeof="foaf:Image" src="http://pw20c.mcmaster.ca/sites/default/files/styles/medium/public/pw20c_images/00000326.jpg?itok=-PqeKdK_" width="174" height="220" alt="00000326.jpg" /></a></div></div></div><div class="field field-name-field-description field-type-text-long field-label-above"><div class="field-label">Description:&nbsp;</div><div class="field-items"><div class="field-item even">"Accrington & Church Co-operative Society"
</div></div></div><div class="field field-name-field-creator field-type-text field-label-inline clearfix"><div class="field-label">Creator:&nbsp;</div><div class="field-items"><div class="field-item even">Gould, Julian</div></div></div><div class="field field-name-field-source field-type-list-text field-label-inline clearfix"><div class="field-label">Source:&nbsp;</div><div class="field-items"><div class="field-item even">poster</div></div></div><div class="field field-name-field-date field-type-text field-label-inline clearfix"><div class="field-label">Date:&nbsp;</div><div class="field-items"><div class="field-item even">23 October 1915</div></div></div><div class="field field-name-field-place field-type-text field-label-inline clearfix"><div class="field-label">Place:&nbsp;</div><div class="field-items"><div class="field-item even"><p>Accrington</p>
</div></div></div><div class="field field-name-field-coverage field-type-text field-label-inline clearfix"><div class="field-label">Collection/Fonds:&nbsp;</div><div class="field-items"><div class="field-item even"><p><a href="http://library.mcmaster.ca/archives/findaids/fonds/w/ww1gould.htm">Gould, Julian</a></p>
</div></div></div><div class="field field-name-field-contributor field-type-text field-label-inline clearfix"><div class="field-label">Contributer:&nbsp;</div><div class="field-items"><div class="field-item even">McMaster University Libraries</div></div></div><div class="field field-name-field-rights field-type-text field-label-inline clearfix"><div class="field-label">Rights:&nbsp;</div><div class="field-items"><div class="field-item even">Copyright, public domain: McMaster University owns the rights to the archival copy of the digital image in TIFF format.</div></div></div><div class="field field-name-field-subject field-type-text field-label-inline clearfix"><div class="field-label">Subject:&nbsp;</div><div class="field-items"><div class="field-item even">The Soldier Artist and Poet</div></div></div><div class="field field-name-field-relation field-type-text field-label-inline clearfix"><div class="field-label">Case Study:&nbsp;</div><div class="field-items"><div class="field-item even">Julian Gould: “Love, Order, Progress”</div></div></div><div class="field field-name-field-identifier field-type-text field-label-inline clearfix"><div class="field-label">Identifier:&nbsp;</div><div class="field-items"><div class="field-item even">00000326</div></div></div><div class="field field-name-field-language field-type-text field-label-inline clearfix"><div class="field-label">Language:&nbsp;</div><div class="field-items"><div class="field-item even">eng</div></div></div><div class="field field-name-field-type field-type-text field-label-inline clearfix"><div class="field-label">Type:&nbsp;</div><div class="field-items"><div class="field-item even">image</div></div></div><div class="field field-name-field-format field-type-text field-label-inline clearfix"><div class="field-label">Format:&nbsp;</div><div class="field-items"><div class="field-item even">jpg</div></div></div><div class="field field-name-field-file field-type-text field-label-inline clearfix"><div class="field-label">File:&nbsp;</div><div class="field-items"><div class="field-item even">album, p. 108</div></div></div><div class="field field-name-field-unit field-type-text field-label-inline clearfix"><div class="field-label">Unit:&nbsp;</div><div class="field-items"><div class="field-item even">368</div></div></div><div class="field field-name-field-box field-type-text field-label-inline clearfix"><div class="field-label">Box:&nbsp;</div><div class="field-items"><div class="field-item even">8</div></div></div><div class="field field-name-field-taxonomy field-type-taxonomy-term-reference field-label-above"><div class="field-label">Peace and War in the 20th Century:&nbsp;</div><div class="field-items"><div class="field-item even"><a href="/peace-and-war-20th-century/soldier-artist-and-poet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Soldier Artist and Poet</a></div></div></div>Mon, 29 Feb 2016 19:28:03 +0000Anonymous180272 at http://pw20c.mcmaster.cahttp://pw20c.mcmaster.ca/pw20c/gould-julian-poster-23-october-1915#commentsNewspaper clipping, 21 November 1921http://pw20c.mcmaster.ca/pw20c/newspaper-clipping-21-november-1921
<div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><a href="http://pw20c.mcmaster.ca/sites/default/files/pw20c_images/00000325.jpg"><img typeof="foaf:Image" src="http://pw20c.mcmaster.ca/sites/default/files/styles/medium/public/pw20c_images/00000325.jpg?itok=Xc10NHTP" width="67" height="220" alt="00000325.jpg" /></a></div></div></div><div class="field field-name-field-description field-type-text-long field-label-above"><div class="field-label">Description:&nbsp;</div><div class="field-items"><div class="field-item even">"British League of Help: Princess Beatrice and Monchy le Preux" news clipping
</div></div></div><div class="field field-name-field-source field-type-list-text field-label-inline clearfix"><div class="field-label">Source:&nbsp;</div><div class="field-items"><div class="field-item even">newspaper clipping</div></div></div><div class="field field-name-field-date field-type-text field-label-inline clearfix"><div class="field-label">Date:&nbsp;</div><div class="field-items"><div class="field-item even">21 November 1921</div></div></div><div class="field field-name-field-coverage field-type-text field-label-inline clearfix"><div class="field-label">Collection/Fonds:&nbsp;</div><div class="field-items"><div class="field-item even"><p><a href="http://library.mcmaster.ca/archives/findaids/fonds/w/ww1gould.htm">Gould, Julian</a></p>
</div></div></div><div class="field field-name-field-contributor field-type-text field-label-inline clearfix"><div class="field-label">Contributer:&nbsp;</div><div class="field-items"><div class="field-item even">McMaster University Libraries</div></div></div><div class="field field-name-field-rights field-type-text field-label-inline clearfix"><div class="field-label">Rights:&nbsp;</div><div class="field-items"><div class="field-item even">Copyright, public domain: McMaster University owns the rights to the archival copy of the digital image in TIFF format.</div></div></div><div class="field field-name-field-subject field-type-text field-label-inline clearfix"><div class="field-label">Subject:&nbsp;</div><div class="field-items"><div class="field-item even">The Soldier Artist and Poet</div></div></div><div class="field field-name-field-relation field-type-text field-label-inline clearfix"><div class="field-label">Case Study:&nbsp;</div><div class="field-items"><div class="field-item even">Julian Gould: “Love, Order, Progress”</div></div></div><div class="field field-name-field-identifier field-type-text field-label-inline clearfix"><div class="field-label">Identifier:&nbsp;</div><div class="field-items"><div class="field-item even">00000325</div></div></div><div class="field field-name-field-language field-type-text field-label-inline clearfix"><div class="field-label">Language:&nbsp;</div><div class="field-items"><div class="field-item even">eng</div></div></div><div class="field field-name-field-type field-type-text field-label-inline clearfix"><div class="field-label">Type:&nbsp;</div><div class="field-items"><div class="field-item even">image</div></div></div><div class="field field-name-field-format field-type-text field-label-inline clearfix"><div class="field-label">Format:&nbsp;</div><div class="field-items"><div class="field-item even">jpg</div></div></div><div class="field field-name-field-file field-type-text field-label-inline clearfix"><div class="field-label">File:&nbsp;</div><div class="field-items"><div class="field-item even">album, p. [104]</div></div></div><div class="field field-name-field-unit field-type-text field-label-inline clearfix"><div class="field-label">Unit:&nbsp;</div><div class="field-items"><div class="field-item even">368</div></div></div><div class="field field-name-field-box field-type-text field-label-inline clearfix"><div class="field-label">Box:&nbsp;</div><div class="field-items"><div class="field-item even">8</div></div></div><div class="field field-name-field-taxonomy field-type-taxonomy-term-reference field-label-above"><div class="field-label">Peace and War in the 20th Century:&nbsp;</div><div class="field-items"><div class="field-item even"><a href="/peace-and-war-20th-century/soldier-artist-and-poet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Soldier Artist and Poet</a></div></div></div>Mon, 29 Feb 2016 19:28:03 +0000Anonymous180271 at http://pw20c.mcmaster.cahttp://pw20c.mcmaster.ca/pw20c/newspaper-clipping-21-november-1921#commentsGould, Frederick J., Album annotation, 5 September 1921http://pw20c.mcmaster.ca/pw20c/gould-frederick-j-album-annotation-5-september-1921
<div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><a href="http://pw20c.mcmaster.ca/sites/default/files/pw20c_images/00000324.jpg"><img typeof="foaf:Image" src="http://pw20c.mcmaster.ca/sites/default/files/styles/medium/public/pw20c_images/00000324.jpg?itok=-haBbKYG" width="159" height="220" alt="00000324.jpg" /></a></div></div></div><div class="field field-name-field-description field-type-text-long field-label-above"><div class="field-label">Description:&nbsp;</div><div class="field-items"><div class="field-item even">"Julian must often ... Arras"; text written beside a postcard of the ruins of the Arras cathedral
</div></div></div><div class="field field-name-field-creator field-type-text field-label-inline clearfix"><div class="field-label">Creator:&nbsp;</div><div class="field-items"><div class="field-item even">Gould, Frederick J.</div></div></div><div class="field field-name-field-source field-type-list-text field-label-inline clearfix"><div class="field-label">Source:&nbsp;</div><div class="field-items"><div class="field-item even">album annotation</div></div></div><div class="field field-name-field-date field-type-text field-label-inline clearfix"><div class="field-label">Date:&nbsp;</div><div class="field-items"><div class="field-item even">5 September 1921</div></div></div><div class="field field-name-field-place field-type-text field-label-inline clearfix"><div class="field-label">Place:&nbsp;</div><div class="field-items"><div class="field-item even"><p>Arras</p>
</div></div></div><div class="field field-name-field-coverage field-type-text field-label-inline clearfix"><div class="field-label">Collection/Fonds:&nbsp;</div><div class="field-items"><div class="field-item even"><p><a href="http://library.mcmaster.ca/archives/findaids/fonds/w/ww1gould.htm">Gould, Julian</a></p>
</div></div></div><div class="field field-name-field-contributor field-type-text field-label-inline clearfix"><div class="field-label">Contributer:&nbsp;</div><div class="field-items"><div class="field-item even">McMaster University Libraries</div></div></div><div class="field field-name-field-rights field-type-text field-label-inline clearfix"><div class="field-label">Rights:&nbsp;</div><div class="field-items"><div class="field-item even">Copyright, public domain: McMaster University owns the rights to the archival copy of the digital image in TIFF format.</div></div></div><div class="field field-name-field-subject field-type-text field-label-inline clearfix"><div class="field-label">Subject:&nbsp;</div><div class="field-items"><div class="field-item even">The Soldier Artist and Poet</div></div></div><div class="field field-name-field-relation field-type-text field-label-inline clearfix"><div class="field-label">Case Study:&nbsp;</div><div class="field-items"><div class="field-item even">Julian Gould: “Love, Order, Progress”</div></div></div><div class="field field-name-field-identifier field-type-text field-label-inline clearfix"><div class="field-label">Identifier:&nbsp;</div><div class="field-items"><div class="field-item even">00000324</div></div></div><div class="field field-name-field-language field-type-text field-label-inline clearfix"><div class="field-label">Language:&nbsp;</div><div class="field-items"><div class="field-item even">eng</div></div></div><div class="field field-name-field-type field-type-text field-label-inline clearfix"><div class="field-label">Type:&nbsp;</div><div class="field-items"><div class="field-item even">image</div></div></div><div class="field field-name-field-format field-type-text field-label-inline clearfix"><div class="field-label">Format:&nbsp;</div><div class="field-items"><div class="field-item even">jpg</div></div></div><div class="field field-name-field-transcript field-type-text-long field-label-inline clearfix"><div class="field-label">Transcript:&nbsp;</div><div class="field-items"><div class="field-item even"><p>Julian must often have looked on these scenes of ruin in Arras.<br />
On Monday, Sept. 5 1921, when on my way back from a Conference at Geneva, I went to Arras, and thence, by motor-car, along the Cambrai road, turning off opposite Guémappe to the Monchy hill and ruined village, and then about ¾ mile along the lane that leads east and joins the road to Boiry Notre Dame. At this spot I made the rough pencil sketch here annexed. The land was still untilled, but may be ploughed before long.<br />
The military cemetery for this part is at Vise-en-Artois, near by the Cambrai road. I made inquiries at the British Graves Inquiry Office, at Arras.<br />
F.J. Gould</p>
</div></div></div><div class="field field-name-field-file field-type-text field-label-inline clearfix"><div class="field-label">File:&nbsp;</div><div class="field-items"><div class="field-item even">album, p. 102</div></div></div><div class="field field-name-field-unit field-type-text field-label-inline clearfix"><div class="field-label">Unit:&nbsp;</div><div class="field-items"><div class="field-item even">368</div></div></div><div class="field field-name-field-box field-type-text field-label-inline clearfix"><div class="field-label">Box:&nbsp;</div><div class="field-items"><div class="field-item even">8</div></div></div><div class="field field-name-field-taxonomy field-type-taxonomy-term-reference field-label-above"><div class="field-label">Peace and War in the 20th Century:&nbsp;</div><div class="field-items"><div class="field-item even"><a href="/peace-and-war-20th-century/soldier-artist-and-poet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Soldier Artist and Poet</a></div></div></div>Mon, 29 Feb 2016 19:28:03 +0000Anonymous180270 at http://pw20c.mcmaster.cahttp://pw20c.mcmaster.ca/pw20c/gould-frederick-j-album-annotation-5-september-1921#commentsTait, S.B., Letter, 17 May 1918http://pw20c.mcmaster.ca/pw20c/tait-sb-letter-17-may-1918
<div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><a href="http://pw20c.mcmaster.ca/sites/default/files/pw20c_images/00000323.jpg"><img typeof="foaf:Image" src="http://pw20c.mcmaster.ca/sites/default/files/styles/medium/public/pw20c_images/00000323.jpg?itok=exFJngMt" width="159" height="220" alt="00000323.jpg" /></a></div></div></div><div class="field field-name-field-description field-type-text-long field-label-above"><div class="field-label">Description:&nbsp;</div><div class="field-items"><div class="field-item even">Letter to Frederick J. Gould
</div></div></div><div class="field field-name-field-creator field-type-text field-label-inline clearfix"><div class="field-label">Creator:&nbsp;</div><div class="field-items"><div class="field-item even">Tait, S.B.</div></div></div><div class="field field-name-field-source field-type-list-text field-label-inline clearfix"><div class="field-label">Source:&nbsp;</div><div class="field-items"><div class="field-item even">letter</div></div></div><div class="field field-name-field-date field-type-text field-label-inline clearfix"><div class="field-label">Date:&nbsp;</div><div class="field-items"><div class="field-item even">17 May 1918</div></div></div><div class="field field-name-field-place field-type-text field-label-inline clearfix"><div class="field-label">Place:&nbsp;</div><div class="field-items"><div class="field-item even"><p>Leeds</p>
</div></div></div><div class="field field-name-field-coverage field-type-text field-label-inline clearfix"><div class="field-label">Collection/Fonds:&nbsp;</div><div class="field-items"><div class="field-item even"><p><a href="http://library.mcmaster.ca/archives/findaids/fonds/w/ww1gould.htm">Gould, Julian</a></p>
</div></div></div><div class="field field-name-field-contributor field-type-text field-label-inline clearfix"><div class="field-label">Contributer:&nbsp;</div><div class="field-items"><div class="field-item even">McMaster University Libraries</div></div></div><div class="field field-name-field-rights field-type-text field-label-inline clearfix"><div class="field-label">Rights:&nbsp;</div><div class="field-items"><div class="field-item even">Copyright, public domain: McMaster University owns the rights to the archival copy of the digital image in TIFF format.</div></div></div><div class="field field-name-field-subject field-type-text field-label-inline clearfix"><div class="field-label">Subject:&nbsp;</div><div class="field-items"><div class="field-item even">The Soldier Artist and Poet</div></div></div><div class="field field-name-field-relation field-type-text field-label-inline clearfix"><div class="field-label">Case Study:&nbsp;</div><div class="field-items"><div class="field-item even">Julian Gould: “Love, Order, Progress”</div></div></div><div class="field field-name-field-identifier field-type-text field-label-inline clearfix"><div class="field-label">Identifier:&nbsp;</div><div class="field-items"><div class="field-item even">00000323</div></div></div><div class="field field-name-field-language field-type-text field-label-inline clearfix"><div class="field-label">Language:&nbsp;</div><div class="field-items"><div class="field-item even">eng</div></div></div><div class="field field-name-field-type field-type-text field-label-inline clearfix"><div class="field-label">Type:&nbsp;</div><div class="field-items"><div class="field-item even">image</div></div></div><div class="field field-name-field-format field-type-text field-label-inline clearfix"><div class="field-label">Format:&nbsp;</div><div class="field-items"><div class="field-item even">jpg</div></div></div><div class="field field-name-field-transcript field-type-text-long field-label-inline clearfix"><div class="field-label">Transcript:&nbsp;</div><div class="field-items"><div class="field-item even"><p>17 May 1918<br />
Your son’s pen and ink drawing of Byron’s oak. Such a piece of careful and conscientious work would have delighted Ruskin.<br />
With kindest regards<br />
I am<br />
Very sincerely your<br />
S.B. Tait</p>
</div></div></div><div class="field field-name-field-file field-type-text field-label-inline clearfix"><div class="field-label">File:&nbsp;</div><div class="field-items"><div class="field-item even">album, p. [98]</div></div></div><div class="field field-name-field-unit field-type-text field-label-inline clearfix"><div class="field-label">Unit:&nbsp;</div><div class="field-items"><div class="field-item even">368</div></div></div><div class="field field-name-field-box field-type-text field-label-inline clearfix"><div class="field-label">Box:&nbsp;</div><div class="field-items"><div class="field-item even">shelf no. 8</div></div></div><div class="field field-name-field-taxonomy field-type-taxonomy-term-reference field-label-above"><div class="field-label">Peace and War in the 20th Century:&nbsp;</div><div class="field-items"><div class="field-item even"><a href="/peace-and-war-20th-century/soldier-artist-and-poet" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Soldier Artist and Poet</a></div></div></div>Mon, 29 Feb 2016 19:28:03 +0000Anonymous180269 at http://pw20c.mcmaster.cahttp://pw20c.mcmaster.ca/pw20c/tait-sb-letter-17-may-1918#comments